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MUS-T 351: UNIT 1 EXAM
maximalism |
using extreme ends to traditional means; seen in dimensions of pitch, form, dynamics; associated with Mahler, Strauss, and early Schoenberg
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scientific pitch notation
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pitch notation using letter name and number to indicate octave
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pitch centricity
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the organization of pitch structures around one or more pitch centers, although not necessarily through a system of pitch hierarchies around a tonic
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layering/stratification
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two or more distinct themes layered on top of each other - ie Rite of Spring
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juxtaposition
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two or more distinct themes played right after each other to create contrast - ie Rite of Spring
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synthesis
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taking two or more themes and melding them into new material - ie Rite of Spring
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diatonic collection
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a collection of pitches that contains seven basic, unaltered pitches that are adjacent to one another on the circle of fifths - ie major and minor scales
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modes
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Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian
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pentatonic collection
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a collection of five pitches
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quintal chord
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four P5s stacked on top of each other
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quartal chord
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four P4s stacked on top of each other
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added-note chord
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chord with an added note, such as an added sixth, fourth, or second
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diatonic planing
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parallel movement within a key
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chromatic planing
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parallel movement while keeping the same exact intervals, regardless of key
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metric accent
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accent resulting from metric organization (ie strong downbeat, weak upbeat)
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symmetrical meter
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meters that have symmetrical patterns (ie 4/4, 2/4, 3/4)
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asymmetrical meter
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meters with asymmetrical patterns (ie 5/8, 7/8)
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rhythmic accent
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nonmetrical accent
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agogic accent
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accent produced by duration
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dynamic accent
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accent caused by a dynamic or articulation marking
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syncopation |
emphasis on the upbeat
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hemiola |
3 vs. 2 or 2 vs. 3
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metric displacement
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when a motivic cell is repeated but does not fall on the same part of the beat/measure as before
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polymeter
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using two or more meters at the same time
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polyrhythm
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different simultaneous subdivisions of the beat (ie triplets and eighth notes at the same time)
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polytonality
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multiple tonal centers
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polycentricity
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multiple pitch centers
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interval cycle
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a succession of repeated, equal intervals
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transpositional combination
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a set that can be divided into two ore more segments that relate among themselves by transposition
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imitation |
the successive statement of the same thematic material in two or more voices
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whole tone scale
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all whole tones
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octatonic scale
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alternating semitones and whole tones
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hexatonic scale
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six note scale with alternating semitones and minor thirds
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octave equivalence
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C4 and C5 are equal in pitch class, no matter the octave
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enharmonic equivalence
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D# = Eb
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integer notation
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using numbers to represent pitch classes (ie C=0, C#=1, etc)
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mod 12 math
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uses only twelve integers (0-11) to represent pitch classes
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pitch |
specific letter name and octave (C4)
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pitch class
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all the Cs on the keyboard, regardless of octave
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pitch class space
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intervals in the realm of pitch classes
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pitch space
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intervals between specific notes
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ordered pitch interval
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the distance between two pitch classes considered in a particular order (the order they appear)
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unordered pitch-class interval (interval class)
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the smallest interval between two pitch classes
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transposition
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the interval needed to transpose one pitch class set onto another
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transpositional equivalence
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two pitch class sets that can be mapped onto one another by adding the same number to each pitch class in the set
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inversional equivalence
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two pitch class sets that can be mapped onto one another by inversion followed by transposition
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inversion
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two pitch class sets with the same intervals but in reverse order (ie (014) and (410))
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index number
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the transpositional operator applied to an inversion
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interval class vector
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a complete list of all the intervals in a pitch class set
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normal order
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an arranging of pitch classes in ascending numerical succession, in the smallest interval possible
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prime form
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a way to describe a set class's interval make-up by starting the set on 0
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invariance under transposition
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pitches that are the same between two pitch set classes that are transpositionally related
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invariance under inversion
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pitches that are the same between two pitch set classes that are inversionally related
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complement
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all the pitch classes not included in a given pitch class set
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aggregate
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the union of a set and its complement constitutes the collection of all twelve pitches
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literal complement
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the set that includes the actual pitch classes not included in the original set
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abstract complement
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the prime form of the literal complement
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subset |
sets contained in a given set
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superset |
a set that contains smaller sets
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literal subset
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a set made up of actual pitch classes included in a given set
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abstract subset
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any member of the set class that includes a literal subset
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pitch symmetry
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pitches are symmetric over an axis (ie C,D,F#,G# are symmetric over C#/G) - actual pitches so octave matters
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pitch class symmetry
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a set of pitch classes are symmetric when put in ascending order (octave doesn't matter)
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inversional symmetry
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a set that can map itself under inversion
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transpositional symmetry
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a set that can map onto itself under transposition (ie Aug triad)
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segmentation
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the division of a musical surface into fragments that we can analyze as pitch-class sets
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Viennese Trichord
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a trichord with a TT and a P4 stacked on top of each other
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